In Nostalgia de la Luz, the vast Atacama Desert is used as a powerful symbol of memory, loss, and the search for truth. Through stunning visuals and long, quiet shots, the film contrasts the desert’s harsh beauty with the emotional weight carried by those who search its sands for the remains of loved ones lost during Chile’s dictatorship. The natural light blazing sun by day and gentle stars by night mirrors the contrast between violence and hope. As scientists look to distant galaxies and women dig for bones, the film shows how both personal and collective histories are buried but not forgotten. The desert, dry and silent, reflects both the pain of absence and the human need to remember and seek justice.

Chile, Obstinate Memory (1997), directed by Patricio Guzmán, is a powerful and emotional film that shows his return to Chile after living in exile for 23 years. When he comes back, he decides to show his earlier documentary, The Battle of Chile, which had been banned during the military dictatorship of General Pinochet. As Guzmán travels from Santiago to Valparaíso, he reconnects with people who were part of his original film, former students, activists, and even soldiers. Many of them have changed, but they still carry the memories and pain of the 1973 military coup. As the screenings take place, older viewers are visibly emotional, remembering the trauma they lived through, while younger people, who grew up hearing only the official version that the coup “saved” the country, react with surprise or even defensiveness. The film focuses on these reactions, showing how different generations see the same event in very different ways. Guzmán keeps the storytelling quiet and respectful, letting people’s faces, words, and silences speak for themselves. His camera stays close to people, capturing their emotions as they share their experiences, whether it’s a teacher talking about the meaning of memory or an artist explaining how remembering touches the heart. By showing these honest conversations and emotional moments, Chile, Obstinate Memory helps uncover truths that were hidden for years. It encourages the country to remember what really happened and start healing from the wounds of the past. The film is more than just a documentary, it becomes a tool for truth, helping Chile move toward justice and reconciliation

One thing I really liked about Patricio Guzmán’s film Chile, Obstinate Memory is how it shows the importance of remembering the past. Instead of just giving facts about the 1973 military coup in Chile, the film lets real people like students and survivors share how those events still affect their lives today. It was powerful to see young people reacting to the truth about their country’s history, especially when they had never learned about it in school. Guzmán shows that remembering painful events is important so that people can heal, learn, and make sure it doesn’t happen again. The film makes you think about how memory can be a way of fighting back against injustice.

Terra em Transe, a key film of Cinema Novo by Glauber Rocha, explores political turmoil and ideological struggles in Latin America through a fictional crisis that reflects real-world revolutionary conflicts. With its fragmented storytelling and striking black-and-white visuals, the film captures the tension between authoritarian control and the fight for freedom. Rather than offering clear answers, Terra em Transe immerses viewers in the chaos of power, corruption, and mass manipulation, forcing them to question the true cost of revolution. Its themes of political instability, propaganda, and populist tactics remain highly relevant today, mirroring modern struggles with misinformation and control. Rocha’s experimental approach not only challenges traditional narratives but also highlights cinema’s role in provoking thought and resisting oppression.

The film Black God, White Devil (1964), a key work of the Cinema Novo movement, uses bold visuals and raw storytelling to expose social injustice in Brazil. It explores how oppressed people often turn to religion or rebellion for hope, only to face more violence. The film reveals how true freedom cannot be found through faith or armed resistance, reflecting Cinema Novo’s goal of rejecting polished Hollywood-style storytelling in favor of gritty, politically driven narratives. One of the most striking scenes is the assassination of Sebastião, a spiritual leader, which is shown with fast cuts, close-ups, and stark lighting, making the brutality unforgettable. The film’s bleak view of power and revolution is emphasized by its cinematography, blending dreamlike imagery with a documentary feel. Characters are often shown against vast, empty landscapes, symbolizing their isolation and struggle, while the shaky camera movements mirror the instability of their world. Through its raw style and powerful themes, the film uses cinema as a form of resistance, forcing viewers to confront the harsh realities of injustice and poverty.

Marxists believe that people turn to religion because they are oppressed. Instead of simply abandoning religion, they think the real solution is to improve people’s living conditions, so they no longer feel the need for it. In the film Barravento , religion is shown as unreliable it can both protect and harm. The fishermen trust it to bring them good fortune, but it also leads to their downfall. To survive, the villagers have to become more independent. However, their identity is still closely tied to their religion, creating a conflict between faith and self-reliance. The film feels very authentic because it realistically portrays the villagers’ religion and their fishing lifestyle, making the characters seem genuine. At times, the director gives the actors more guidance to make the story feel larger and more dramatic, but the film still blends natural, realistic moments with more stylized, epic scenes. This mix makes the film powerful and memorable.

Cinema Novo was a Brazilian film movement in the 1960s and 70s that focused on showing the struggles of poor and working-class people, as well as issues of race. Famous directors like Glauber Rocha and Nelson Pereira dos Santos made bold, political films with limited resources, challenging mainstream cinema. Eryk Rocha’s documentary about Cinema Novo felt artistic rather than traditional, using old footage, interviews, and creative editing to capture the movement’s energy. Even though it was sometimes hard to follow, it made the history feel alive. Cinema Novo’s influence is still seen today in films that highlight social and political issues.

Cinema Novo was a Brazilian film movement in the 1960s and 70s that focused on showing the struggles of poor and working-class people, as well as issues of race. Famous directors like Glauber Rocha and Nelson Pereira dos Santos made bold, political films with limited resources, challenging mainstream cinema. Eryk Rocha’s documentary about Cinema Novo felt artistic rather than traditional, using old footage, interviews, and creative editing to capture the movement’s energy. Even though it was sometimes hard to follow, it made the history feel alive. Cinema Novo’s influence is still seen today in films that highlight social and political issues.

Last week, we watched several films, but the one that stood out to me the most was La hora de los hornos. This film was directed Octavio Getino and Fernando Solanas. This 1971 Argentine film explores the struggles of the country’s poorer population. What I found most interesting were the film’s editing, language, and visual style. It feels like a film made by the people and for the people. The fast-paced editing includes gunshots and intense visuals, making the message powerful. One striking example is the scene of cattle being slaughtered, which is intercut with images of foreign advertisements, creating a clear and emotional message. It allows us to feel part within the film and see what these innocent people had to go through.